NO NEED OF LIGHT
Georges Meurant's work requires no special lighting. The blues are vivid early in the morning, and late in the evening it's the turn of the reds. At dawn, the three colors on which the works are based settle down. The structures underlying each painting are best showcased at dusk. These works also function under constant lighting: the color rectangles suddenly begin forming temporary groups which we perceive as standing out from the rest, each group soon superseded by the emergence of another, and then another, each of them different. Moreover, some groupings of such rectangles momentarily stand back, forming a ground in respect of which the others come forward; moments later, new groupings assume ground status, and then others. For as long as we look at the paintings, the permutations continue.

THE HOW AND THE WHY
To experience these paintings we need no explanations. But we can endeavour to understand the process, and appreciate that the singular spatial tension involved has never been put to such use before. Esthetical theorist Jean Guiraud has suggested metaphorically that the evanescent space engendered by the work, constantly emerging in discontinuous and unpredictable packets, has the features of a quantum structure1 . Meurant's rectangles, placed as by algorithm, illustrate (as do those of Mondrian and Malevich) the search for innovation in artificial intelligence, a field in which engineer Jacques Lefèvre is working2. The poet Bernard Noël has wondered How we name the quality of standing on silence to speak ?3. According to Guiraud, Meurant is at the core of the mechanism that may dictate both the (spatial) coming together of the forms and the (sequential) connections of language, and this may well prove to be the most mysterious - and most important - of his contributions to art.4
A.M